The throng of tulle and pink satin that descended on Lincoln Center’s David H. Koch Theater could only mean one thing: a night at the ballet was in order. After searching the globe for standout talent ages nine to nineteen, the Youth America Grand Prix returned to New York with dance protégés from leading companies around the world, welcoming them to share the stage with the “stars of today.” Watching on in admiration, the audience was a mix of familiar faces, patrons, and newly converted admirers of the centuries-old discipline.

“I see a lot of people who look like they care about ballet,” laughed Misty Copeland, making the night’s first—but definitely not the last—lighthearted reference to Timothée Chalamet’s recent commentary. Copeland has danced onstage at the YAGP gala and served as a judge for the competition for many years—but this time around, she was back as the evening’s host.

The trailblazing ballerina expounded upon the rigorous auditions, workshops, and master classes that led up to this moment; the culmination of more than 1,500 young dancers traveling from across the globe to captivate the audience at Lincoln Center. And captivate, they did. One moment, a solo by an eight-year-old from Brazil—tambourine in tow—disarmed the room with each plié. The next, a rendition of the Dance of the Little Swans was performed entirely by male dancers in YAGP’s signature subversive style.

“The Caravaggio was beautiful,” praised Mindhunter actor Holt McCallany, pointing to its sensuousness and elegance. “It reminded me why I’ve always loved ballet—there are no shortcuts. You just have to put in the work.” Sex And The City’s Chris Noth concurred: “If you’re doing film or TV, you can edit things out—but in ballet, you don’t get another take. It’s so exacting. That discipline…” They landed on the same conclusion at once: “It’s awe-inspiring.”

On the subject of inspiring a room of different artists, American Ballet Theater principal dancer Christine Shevchenko gushed with gratitude. “Ballet is a way of bringing people together—because in that moment, everyone’s connected,” she beamed. “You experience lots of emotions all together in the same room. It’s a bonding experience.” Shevchenko’s performance was one of the most revered of the night: Rainbow, which was choreographed by YAGP’s own Melanie Hamrick and arranged by her fiancée Mick Jagger exclusively for this performance. “To be dancing to the Rolling Stones while wearing LoveShackFancy was pretty awesome,” laughed Shevchenko.

A seated dinner followed inside the resplendent promenade, where everything was washed in a ballet-slipper pink hue, from the florals and the table linens to the upholstered seating. Even the Champagne flutes shimmered with sparkling rosé. At the center of the room, onlookers gathered around an array of embellished dancing shoes created for The Pointe Project—which invites designers to transform shoes into one-of-a-kind works of art for a silent auction. All proceeds help young dancers access the training needed to pursue professional careers through the YAGP, regardless of geography or means. Designers from Michael Kors—whose slipper nodded to the Black Swan—to Carolina Herrera’s Wes Gordon brought their own distinct flair.